Let's face it: The musical "Annie" was old-fashioned even when it opened on Broadway in 1977 (book: Thomas Meehan; music: Charles Strouse; lyrics: Martin Charnin). But it's still a crowd-pleaser for adults and children alike, as you can discover for yourself with the SHN touring production now on the boards at the Golden Gate Theatre (through June 14). Out There was there on opening night.
Part of Annie's eternal appeal lies in its sunny optimism, exemplified by the curly-haired orphan of the title (Issie Swickle). Partly it's due to its ear-worm-laden score ("Tomorrow," "Little Girls," "Easy Street"). Also, it's heartening to see a Democratic President who's charismatic, forceful and effective (FDR, played by Jeffrey B. Duncan). It's righteous to find federal work programs, a social safety net and Keynes ian economic stimulus treated as the key to a happy ending, rather than vilified by know-nothing Republicans.
And it's refreshing to find, in "Daddy" Oliver Warbucks (Gilgamesh Taggett), an obscenely rich individual who uses his wealth for the civic good rather than for self-aggrandizement (plaques, bridge namings, City Hall busts). The 2015 return of Annie is tempered, however, by all that we have come to know since its last revival. Warbucks' absolute control over the U.S. government is uncannily matched by post-Citizens United billionaires buying elections to their hearts' delight (bye-bye, democracy!), and his use of FBI surveillance for his own ends is post-"Patriot" Act creepy.
Still, this is an entertainment you've got to love, whether it's sleazy Miss Hannigan (Lynn Andrews, chewing the road-show scenery) decrying the omnipresence of "Little Girls," or slick Bert Healy (Cameron Mitchell Bell) reminding radio listeners that "You're Never Fully Dressed Without a Smile." We're happy to report that Annie's arf-ready sidekick Sandy (Sunny, alternating with Macy) hits all his marks with panache.
Endnotes
Director Todd Haynes' lesbian film "Carol," starring Cate Blanchett, was the toast of the Cannes Film Fest. He told The New York Times, "I'm also, like, really, marriage? I'm not going to over-romanticize pre-Stonewall gay life, but there was no other choice but to form a critical subtext to dominant society and to use wit and humor and art and language to basically stand outside. And now the whole issue of standing outside anything I think is the question today."
Dept. of that-word-doesn't-mean-what-you-think-it-does: "Supervisor Mark Farrell said the development fees are the primary funding source of below market-rate housing, and by halting it 'we literally are going to be shooting ourselves in the foot.'"
In the dance column "Ballet beat" in our May 28 issue, San Francisco Ballet School Trainee Chisako Oga 's name was misspelled. Further, since publication, both Ms. Oga and her partner Haruo Niyama have been promoted to Apprenticeship with SFB. Congratulations, up-and-comers!